A new campaign launches the branding partnership between global sports brand Puma and the Red Bull Racing Formula One Team in preparation for the upcoming Formula One 2016 Season. The concept required a herd of stampeding bulls to charge around the two Red Bull Racing drivers Daniel Ricciardo and Daniil Kvyat. They turned to effects artist David Cox.
It is challenging to run a modern digital cinema theatre complex without theatre management software, which raises the question: who would want to? TMS has streamlined the exhibition business and opened the door to possibilities that were not even imagined more than a decade ago. With CinemaCon 2016 set to convene next month in Las Vegas one thing is certain: TMS will be a major topic at the show. To help readers stay abreast of the latest developments in Digital Cinema Report asked leading manufacturers what we can expect at the show. In part one of our ongoing series I spoke via email with John Aalbers, CEO of Arts Alliance Media.
Movie theatres are getting bigger again and exhibitors have learned that audiences are willing to pay for the kind of immersive entertainment that simply can’t be duplicated in the typical home theatre. This trend has only increased the demand that the audio match, or even surpass, the quality of the images on the big screen. Cinema sound has never been bigger or more important. Understanding that, Digital Cinema Report reached out to key manufacturers to learn what developments in sound technology they’ll be highlighting when the exhibition industry gathers next month at CinemaCon 2016 in Las Vegas. In part five of this ongoing series, I spoke with Tom Back, Alcons Audio’s co-founder and managing director to get his perspective.
The Dick Clark Productions Screening Room and Riverbed Post are now co-located to jointly provide a wide range of services for feature film post-production and presentation. The screening room features a 21-seat theater and associated rooms at Lantana, as well as it’s just installed Christie CP-4220 4K Digital Cinema projector and other 4K upgrades. Riverbed’s Chris F. Woods manages dailies processing, VFX, title design and production, color grading, and mastering with his state of the art finishing hardware and software.
I recently worked as a camera operator on a VR feature called The Spring. The first question of many questions that I had for Greg Passmore, owner of Passmore Labs, Austin, Texas was, “When you are shooting a 3D 360 degree VR movie in a cave where at times you are perilously close to the top of the caves due to the water level, where do you position the crew?” His reply threw me off guard. He said, “Anywhere I want.” It was then that he told me he was shooting with one Red Epic camera. The question then was, how?
AEG, one of the world’s largest sports and entertainment presenters, and Regal, operators of the largest theater circuit in the United States, are partnering Barco on a multi-year, strategic partnership to create Regal L.A. Live: A Barco Innovation Center. The current Regal Cinemas L.A. Live, owned by AEG, will transform into a one-of-a kind creative hub for all of Barco’s cinema technology. The deal also marks the first and only naming rights partnership for an entire movie theater complex.
Movie theatres are getting bigger again and exhibitors have learned that audiences are willing to pay for the kind of immersive entertainment that simply can’t be duplicated in the typical home theatres. This trend has only increased the demand that the audio match, or even surpass, the quality of the images on the big screen. Cinema sound has never been bigger or more important. Understanding that, Digital Cinema Report reached out to key manufacturers to learn what developments in sound technology they’ll be highlighting when the exhibition industry gathers next month at CinemaCon 2016 in Las Vegas. In part four of this ongoing series, I spoke with Daniel Saenz, cinema solutions manager, Harman Professional Solutions to get his perspective.
Cinematographer Adam Stone and director Jeff Nichols have been close collaborators since film school and share the same sensibilities, particularly with their preference for the anamorphic format. “Not knowing any better, we shot our first low-budget indie, Shotgun Stories (2007), in widescreen,” Stone said. “That film did better than expected, and we attributed some of its success to the format—widescreen added a weight and elegant stateliness to the story.”
Movie theatres are getting bigger again and exhibitors have learned that audiences are willing to pay for the kind of immersive entertainment that simply can’t be duplicated in the typical home theatre. This trend has only increased the demand that the audio match, or even surpass, the quality of the images on the big screen. Cinema sound has never been bigger or more important. Understanding that, Digital Cinema Report reached out to key manufacturers to learn what developments in sound technology they’ll be highlighting when the exhibition industry gathers next month at CinemaCon 2016 in Las Vegas. In part three of this ongoing series, I spoke with Patrick Artiaga, director, business development, audio solutions, Christie Digital Systems to get his perspective.
AMC’s critically acclaimed Revolutionary War drama Turn: Washington’s Spies transports viewers back to the cities, villages, plantations and battlefields of colonial America. Ensuring that all those locations, their buildings and geographic features are historically accurate, that the ships, flags and musket shots are correctly represented, is the result of careful research and clever work on the part of the show’s production team and visual effects artists from FuseFX.
